Different questions

Campbell’s book is not a list of archetypes but a claim about narrative: that the hero myths of many cultures share one underlying sequence, which he called the monomyth, a word he credits in a footnote to Joyce. The count of seventeen is Campbell’s own. The first part of the book sets out the adventure in three movements, Departure (five stages), Initiation (six) and Return (six), each stage with its own heading, and he describes the whole as an enlargement of the separation, initiation and return of van Gennep’s rites of passage. Campbell drew on Jung for the psychological reading of the figures the hero meets, and on Freud and Rank for the family drama beneath them, but the sequence is his synthesis of 1949, not Jung’s. The seventeen are the source of every later “journey” model, including Vogler’s twelve stages for screenwriters. The only empirical work near it is Rogers and colleagues (2023), who tested a seven-element reduction of the sequence as a way of seeing one’s own life story; that tests narrative framing, not Campbell’s comparative claim. Campbell died in 1987, the text is in copyright, and the Joseph Campbell Foundation asserts its rights actively.

Sources

• Campbell, J. (1949). The Hero with a Thousand Faces. Pantheon Books, Bollingen Series XVII. Second edition, Princeton University Press, 1968. ISBN 978-0-691-01784-6. Part I, chapters 1–3 (the Prologue “The Monomyth”, the seventeen stage headings, and note 35 on Joyce).
• Rogers, B. A., et al. (2023). Seeing your life story as a Hero’s Journey increases meaning in life. Journal of Personality and Social Psychology. https://doi.org/10.1037/pspa0000341
• Joseph Campbell Foundation. HERO’S JOURNEY, US Reg. No. 4246622, class 41. https://trademarks.justia.com/852/52/hero-s-85252681.html

Wolff’s scheme is the earliest of the authored taxonomies and the only one written from inside Jung’s circle. It sorts the ways a woman’s psyche may be oriented into four structural forms. Two are defined by relation to a person: the Mother, turned towards nurture and protection, and the Hetaira, turned towards the individual man as companion. Two are defined by relation to something impersonal: the Amazon, turned towards work and achievement in the world, and the Medial woman, turned towards the unconscious and the collective atmosphere around her. Wolff set them on two crossed axes, Mother opposite Hetaira and Amazon opposite Medial, so that each woman has a dominant form, a secondary one and a weak opposite. The provenance matters because the four are often listed as Jung’s: they are Wolff’s. Secondary accounts say the essay was first read to the Psychological Club in Zürich in 1934; it was printed in German in the journal Der Psychologe in 1951 and translated into English by P. Watzlawik for the C. G. Jung Institute in 1956, three years after her death. No study has tested the four forms.

Sources

• Wolff, T. (1951). Strukturformen der weiblichen Psyche. Der Psychologe, 3(7/8), 303–315. Bibliographic record: https://carljungdepthpsychologysite.blog/?p=20504
• Wolff, T. (1956). Structural Forms of the Feminine Psyche (P. Watzlawik, Trans.). C. G. Jung Institute, Zürich. Listed at https://en.wikipedia.org/wiki/Toni_Wolff
• Wolff, T. (2021). Essays of Analytical Psychology. Daimon Verlag. ISBN 978-3-85630-623-6. New English edition of the essays.